Runway Makeup S/S 11

[flyme2themoon]

Marc Jacobs

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by Catherine Piercy

THE CREDITS:
Makeup, François Nars for NARS; hair, Guido Palau for Marc Jacobs; brows, Laurie Foley for L’Atelier de Laurie; manicure, Elisa Ferri for CND.

THE LOOK: Seventies It-girl meets Viscontian aristocrat

MAKEUP: “There’s a seventies and thirties influence in the collection,” said Nars, who looked to highly glamorous icons of the former era for inspiration. “Angelica Huston, Pat Cleveland, Marie Helvin,” he said of the models’ glossy emerald eyes, flushed cheeks, and aubergine lips. Of the erased brows—bleached into submission backstage by colorist Laurie Foley at Jacobs’s request—“there’s got to be a twist,” he said mischievously.

HAIR: “It’s about decadence,” said Palau of the four looks he created backstage—Marcel waves, brushed-out pin curls, graduated bobs, and “Grace Coddington texture” among them. “It’s very pulled together, very done. This is the kind of woman who reeks of perfume.” He finished the look by tucking a cluster of oversize silk flowers behind each model's ear or, in some cases, settling one of the designer’s wildly oversize soft-brim hats over the crown. Is it a look easy to replicate off the runway? “In a word,” said Palau dryly, “no.”


MANICURE: “This must be the first time in history that the backstage nail color was inspired by the brow,” said CND creator Jan Arnold, who collaborated with Ferri on the final look. At Jacobs’ request, she mixed a flesh-colored nude polish with two drops of matte topcoat. “It’s almost like concealer,” she said of its eraser effect on the hands. An appropriately well-heeled pedicure, on the other hand, called for a shade called Bloodline—“a full-coverage blue-based red.”

THE TOOLS:
MAKEUP:

ON EYES: “Marc wanted green,” said Nars of the smoky, jewel-toned haze he swirled around the eyes in shades of his company’s shimmering sea-foam (Nouveau Monde), emerald (Night Porter), and absinthe (Celebrate). He followed by dabbing a veil of Vaseline over the lids, explaining, ”That bit of shine keeps it modern.”
ON CHEEKS: NARS Orgasm blush
ON LIPS: NARS Pure Matte lipstick in Volga

HAIR: Redken Thickening lotion “for body,” and Quick Dry Instant Finishing Hairspray “for finish,” said Palau.

ON NAILS: CND Perfectly Bare (on fingers) and Bloodline (on toes).

Source: vogue.com

 

[flyme2themoon]

Reed Krakoff

​

by Christina Han

THE CREDITS:
Makeup, Dick Page for Shiseido; hair, Guido Palau for Redken

THE LOOK:

MAKEUP: “I just mixed these two colors, a greenish and pewter cream shadow, together in the lab,” Page said as he dabbed the yet-to-be-named shade on models’ eyelids. “Hopefully it will be out in time for 2011!” While the rest of the skin was kept quite clean, with just a sweep of pink blush high on the cheekbones (“for a little glow”) and a matte rose-brown tone for the lips, the tarnished, metallic eye delivered what Page called a “bit of definition and a cool-girl effect.”

HAIR: Palau described the hair—pulled back into a loose, pinned-up knot on the top of models’ heads—as “piece-y, punky, and very simple.” The black cotton band framing each face “adds a little drama,” he said. Inspired by Krakoff’s collection of “urban, yet stylized” clothes, Palau spritzed hair with wax spray to add texture and to “get all the good bits to stick up.”

THE TOOLS:

MAKEUP:
ON CHEEKS: Shiseido Makeup Luminizing Satin Face Color in Tea Rose

ON LIPS: Shiseido Perfect Rouge Glowing Matte Lipstick in Wink

HAIR:
Redken Wax Blast 10 High Impact Finishing Spray Wax and Guts 10 Volume Spray Foam

MODEL MOMENT:
Dressed in a cotton black cotton dress from H&M and a white leather motorcycle jacket by Narciso Rodriguez, model Iris Strubegger—fresh out of Palau’s chair—explained why she was particularly in love with today’s look: “I’ve been hiking at home in Austria all summer long, and this hair is just perfect for something like that. It’s easy and anyone can do it.”

Source: vogue.com

 

[loonaka]

I love the leopard nails at Z Spoke by Zac Posen^^

 

[eu-pt]

J. Mendel Spring 2011


© vogue.com

GET THE LOOK - MAKEUP: All makeup by Bobbi Brown. Bobbi worked largely from her Pretty Powerful Palette, which is available in two varieties for lighter or darker skin. Start with creating a matte, rather than luminous look for the skin by using a powder to correct, conceal, and contour the face where needed. Use the Pink Flannel eyeshadow all over the lid. But Brown cautions that it is tricky to use pink eye shadow without looking tired, so she does a heavy build-up of mascara on the top lashes with no eye liner to add definition to the eyes. "Use a brush for sure," says Brown to apply the lipstick, and be sure to make a rounded lip instead of a pointed for a modern finish. First apply nude, beige color with a bit of gold in it then add a peach, pink brighter tone like Bobbi Brown Coral Gables on top, using the brush to add dimension.
stylelist.com

 

[flyme2themoon]

Sophie Théallet

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Backstage at the Sophie Théallet Spring 2011 fashion show at New York Fashion Week, a fiery Spanish flamenco dancer vibe took over makeup and hair, with smoked out lids, luscious red lips and slicked-to-the-head towering braid-buns leading the charge.

MAKEUP: Lena Koro for Nars
HAIR: Antoinette Beenders for Aveda
SNAPSHOT: Spanish Flamenco Fashionista

Sophie Théallet's Spring 2011 collection featured classic Mexican influences, from peasant blouses to fully tiered skirts and lace, and the makeup heightened the Latin intensity with a strong face of smoky eyes, red lips and rigidly braided updo's.

Eyes smoldered in shades of black and smoked-out charcoal, while lips were bathed in the same red Vesuvio Pure Matte Lipstick hue that has been featured heavily in the Nars' latest launch campaign. "I kept the skin very matte because it has an old Hollywood feel about it," said Kono.

Hair parted in the center, with a classically lacquered-slick Spanish finish and a braided bun for which Beenders actually built a structural support by slipping hooked bobby into the base. Black ribboned hairbands took on a new evolution. "I'm using them as 'bun bands' by circling them around the base and having my strong Japanese man secure it into position with elastic ties," said Beenders, speaking of her deftly-handed assistant.

GET THE LOOK - MAKEUP: All products by Nars. A new holiday palette called Okinawa was used for the eyes; you can instead blend substitute shades of black, charcoal and silver together on the eye for a luminous look with plenty of depth and contrast. Line eyes with black powder, and then blend gray over it for a smudgy look. Finish with several coats of black mascara, and pop lips with Pure Matte Lipstick in Vesuvio.

GET THE LOOK - HAIR: All products by Aveda. Prep dampened hair with Smooth Infusion Style-Prep Smoother, and use a wide-toothed comb to center part the hair and blow dry it straight. Brush hair back tightly and tie into a high ponytail just below the crown, spraying with Air Control Hair Spray for shine and hold. Braid the ponytail and massage the braid for fabric-like texture, spraying with Control Force Firm Hold Hair Spray for a stronger hold. Attach a black taffeta headband around the base of the braid and on the crown of the head, and secure with hairpins. Fold the braid in half and loop upward to create a vertical, braided chignon, pinning with bobby pins. Do a final spray-over with Control Force Firm Hold Hair Spray.

Source: vogue.com and stylelist.com

 

[flyme2themoon]

Julien Macdonald

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Sharon Tate Inspires Beauty Look at Julien Macdonald

LONDON — Sharon Tate’s turn in "Valley of the Dolls" inspired hair and makeup at Julien Macdonald.

“It’s sexy and bedhead-y in, but in a modern way,” said hairstylist Malcolm Edwards, who was working with L'Oréal Professionnel.

Edwards prepped hair with Tecni.Art Pli, Hot Style Constructor and Play Ball Texture Tonic before styling with tongs. Hair was worn loose save for some sections, which were pinned in place.

James Kaliardos, who was working with L’Oréal Paris, also referenced Tate for the show’s makeup look. The makeup artist opted not to focus on one particular feature. “It’s really about treating the whole face,” he said.

Kaliardos used Studio Secrets Professional Smoothing Resurfacing Primer to prep skin, and eyeshadows in brown and Champagne hues to create a rounded eye shape.

He elongated central lashes with Volume Million Lashes mascara to accentuate peepers’ rounded appearance. He used lip liner and lipstick in rosey hues.

Source: wwd.com

 

[flyme2themoon]

Mary Katrantzou

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MAKEUP: Val Garland for MAC Cosmetics
HAIR: Stephen Low
SNAPSHOT: Spectacular Interiors

THE SCOOP: The colourful, interior themed prints spoke for themselves on the catwalk, so the makeup and hair was kept fresh and simple.

GET THE LOOK - MAKEUP: Garland used "iced, Ladurée pastel shades" as her inspiration for the makeup this season. She used MAC Coloursticks in pale pinks, yellows and baby blues across the eyelids and added a touch of soft, fancy pink gloss to the lips. The overall look was soft and clean, with minimal makeup used on the face.

GET THE LOOK - HAIR: Low created a "sleek, natural" look with the hair, using very little product to keep the look as natural as possible. He scraped the hair back into a looped ponytail positioned just below the crown of the head, and bound it inside the loop to give support and bounce on the catwalk. He used blow dry lotion and Elnett hairspray to keep the hair in place.

Source: vogue.com and stylelist.com

 

[The_Ida]

Erdem SS11

All images property of St. Tropez​

All images property of St. Tropez​

St. Tropez skin-finishing expert Nichola Joss explains the skin…​

“The inspiration for the skin comes from Cate Blanchett in The Lord of the Rings, when she has a hint of rose in her cheeks, It is as though the girls are outside running about in the woods. We are first spraying the models very lightly with the new Dark Mist; and then applying the mix of gold and pink illuminator over the skin. I love the combination – gold represents the golden light, which comes through the trees in the forest; and the pink is the pink blossom that grows within.”


Make-up artist Andrew Gallimore matched the face to the body with a very lightweight foundation that is almost a tinted moisturiser. “Then for the eyes,’ he said, beckoning the girl he has just demonstrated make-up to his team on, ‘there is a sort of day-glow plastic yellow colour. The face was super simple with a nude lip and no mascara. He then finished with a touch of St. Tropez Illuminator on the cheeks, down the bridge of the nose and in the cupid’s bow of the lips: ‘the whole feel is spring-like and Easter-y, in colour.”

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Lipglossiping.com

I love this! I loved the collection, and the models looked soooo pretty!

 

[The_Ida]

Rodartes schoolgirl hair


Fantastisk dejligt at se hårlooks fra New York, Rodartes schoolgirl look er lige til at kopiere! This look is so easy to copy – love the New York style..

Når du føntørrer dit hår, er det vigtigt at du tænker på den form du ønsker. Føntør derfor dit pandehåret fremad, så det kommer til at ligge i en bue ned i panden. Think about the shape you want when you’re blowdrying. Blow your fronthair down towards the face, to get the round shape.

So chic and effortless..

HOW TO GET THE LOOK:

1.Prep damp hair with Aveda Brilliant™ Damage Control to protect hair from heat styling and brow dry straight with a Mason Pearson brush.

2. Using fingers for a slightly imperfect look, create a super-strong part on the left side of the head, parallel to the center of the right eyebrow. Spray liberally with Aveda Air Control™ Hair Spray for shine and light hold.

3.Emulsify Damage Remedy™ Daily Hair Repair in hands to add lived-in texture and prevent breakage. Use fingers to tousle hair and enhance texture and body with Aveda Volumizing Tonic™.

4.Secure a thick barrette to the left side of the hair, just above the left ear. Set the look with Aveda Air Control™ Hair Spray.

youblushblog.com (Danish-Norwegian MUA, she's pretty awesome)

 

[The_Ida]

Stine Goya SS11

 L’Oréal Paris Volume Million Lashes mascara

 L’Oréal Paris Matte Morphose Foundation

 Color Appeal Quad Pro (316 Rose Platin)

 Color Appeal Quad Pro (317 Brun Mordor)

 Color Riche Serum (S101Freshly Candy)

altfordamerne.dk

 

[flyme2themoon]

Burberry

THE CREDITS:

Makeup, Wendy Rowe for Burberry Beauty; hair, Neil Moodie for Bumble and Bumble; nails, Anatole Rainey

THE LOOK: Burberry girl as Bardot biker babe.

MAKEUP: “The clothes are a bit sexier this season, so the makeup is, too—but the Burberry girl is never obvious,” said Wendy Rowe of the sultry eye, fresh skin, and nude lip she gave models using the house’s coolly understated new color line. “She’s gorgeous but still a bit boyish.”

THE HAIR: “There’s a biker influence running through the collection,” said Neil Moodie, who created subtle waves from the mid-length to the ends of the hair, but left the section closest to the end straight. “I wanted the hair to look like she’d just gotten off her motorcycle and shaken her hair down from her helmet.”

THE NAILS: “It’s the classic Burberry nail,” said Rainey—also known as “the ultimate ‘no nail’ nail.” He removed all traces of polish for a clean look before stripping away “any hint of shine” with a clear, matte topcoat.

THE TOOLS:
MAKEUP:

ON SKIN: A thin veil of Burberry Sheer Foundation for a dewy glow, and the company’s contour powder “just below the cheekbones to give the girls a sexiness without a lot of makeup,” said Rowe.

ON EYES: Rowe created a taupe-colored haze around the eyes with Burberry Sheer Eye Shadow in Almond, Rosewood, and Pearl.

ON LIPS: A dab of the company’s new concealer “to tone the natural lip color down.”

HAIR: Moodie spritzed Bumble and Bumble’s Thickening Hairspray throughout the lower length of the hair “for volume,” then added a slight bend to it with a curling iron. To create wispy pieces that would spill over the colors of Christopher Bailey’s leather-studded motorcycle jackets as models walked down the runway, he used a straight razor on the pieces at the front.

NAILS: Nail Tek Foundation II conditioned the nail while adding a matte finish.

Source: vogue.com and wwd.com
​

 

[flyme2themoon]

Meadham Kirchhoff

​

by Catherine Piercy

THE CREDITS:

Makeup, Florrie White for M.A.C.; hair, James Pecis for L’Oréal.

THE LOOK: Doll-eyed metalhead turned Quinceañera princess.

THE MAKEUP: “Ben [Kirchoff] and Ed [Meadham] showed me their mood board six weeks ago. They’d been thinking about banged-up wax dolls and old Biba makeup counters,” Florrie White said. “They liked the idea of a woman coming in and dipping her fingers into all those pots and colors and trying on everything at once.” She interpreted the designers’ charmingly kooky references as plasticized skin, painted-on lashes, and razor-drawn red lips.

THE HAIR: “The guys were obsessed with seventies horror films [Ed.: like Dario Argento’s Suspiria] and something like a Marilyn Manson follower, if you can picture that kind of intense, gothic look to the hair,” said James Pecis, who spent four days creating several dozen painstakingly perfect tie-dyed hair extensions for the show. Before models took their sherbert-tinged pink, green, yellow, and blue manes down the runway, a team of backstage dressers pinned the length of the hair to the neck beneath thin strips of velvet ribbon chokers. To crown Meadham Kirchhoff’s whimsical spring muse, Nasir Mazhar created six extraordinary handmade tiaras for the occasion—each one an utterly unique construction of smocked lace, ribbon, and crystal.

THE TOOLS:
MAKEUP:

ON EYES: To give her dolls a “dusty,” forgotten-in-the-closet look, White swirled M.A.C. Eye Shadow in Brown, Sepia, and Shell around the eyes, then drew dozens of exaggerated lashes directly onto the skin with M.A.C.’s Pentultimate liner in Rapidblack.
ON CHEEKS: M.A.C. Blushcreme in Tea Petal “on the apples.”
ON LIPS: M.A.C. Ruby Woo, followed by a coat of Basic Red Chromatin cream and Pro Longwear Lipcolour in Lasting Lust “to fix it in place and give a matte finish.”
ON NAILS: To achieve the look of glitter-dipped fingertips, White’s team mixed M.A.C. Glitter Brilliants in Silver with a clear top coat. After painting it on, they pressed more of the gleaming loose pigment particles onto the surface.

HAIR:
L’Oréal Professionnel Tecni.Art Pli Thermo-Fixing Spray, and enough hand-dyed hair extensions to service an army.

Source: vogue.com

 

[flyme2themoon]

Alberta Ferretti

by Catherine Piercy
THE CREDITS:
Makeup, Lucia Pieroni for M.A.C.; hair, Guido Palau for Redken

THE LOOK: Fairy-tale sprite meets seventies earth goddess.

MAKEUP: “She’s a girl of the earth, a woodland nymph of sorts wandering through the forest,” said Lucia Pieroni backstage. In a nod to the muted shades of sage, grass, and forest green that shot through Ferretti’s collection, she gave models hazy chartreuse eye makeup and lips toned down to a muted post-hippie pink.

HAIR: “It’s a bit bohemian, almost messy even,” said Guido Palau, who massaged the hair into perfectly chilled-out waves, working them away from the face for a casually windswept feel.

THE TOOLS:

MAKEUP:
ON SKIN: M.A.C. Mineralize Skinfinish Natural in Medium Deep over the forehead, nose, and apples of the cheeks for a sun-kissed glow.
ON EYES: “It should look as if the color fades away toward the cheekbone,” Pieroni said of M.A.C.’s Eye Shadow in Juxt (a shimmering golden-green powder). For an otherworldly shine, she dabbed M.A.C. Pigment in Vanilla on the center of the lid and high on the cheekbones.
ON LIPS: M.A.C. Lipstick in Myth (a sheer nude) dabbed onto the mouth. “It’s soft, but the lips’ natural color should still shine through,” Pieroni said.

HAIR:
Redken Velvet Gelatine 07, new this fall, “for texture,” Palau said.

Source: vogue.com and wwd.com​

 

[MulletProof]

I loved the Alberta Ferretti makeup, I used to have green eyeshadow in that exact same shade and loved wearing it in the summer, just to add a bit of a twist to a simple summer look.. definitely feel like finding one again for next year.

I'm also LOVING the Prada look, it's a bit extreme and almost looks like made with a paint brush cause it's so thick but at least I like how it looks on the runway and is it just me or dark skin + silver eyeshadow is just the most perfect combination? I'm having trouble trouble finding pictures but in motion, it looked stunning on the dark-skinned models.




[style.it]

 

[missbluejean]

^I agree, the eyeshadow may look quite silly in the pictures but it was so eyecatching in the video. I love the inspiration they used: (vogue)

by Catherine Piercy

THE CREDITS:
Makeup, Pat McGrath for CoverGirl; hair, Guido Palau for Redken.

THE LOOK: 1930s jazz singer does industrial decadence
MAKEUP: “It’s the idea of putting glamour on a modern woman. Playing around with androgyny, which is something we tend to do quite a lot in fashion today, but making it decadent,” said Pat McGrath. This translated to a strong brow, bare skin, and a reflective silver eye that was powerfully feminine and—like Prada’s stripped-down metal set—“quite industrial at the same time.”
HAIR: “It’s thirties. Jazz. Josephine Baker,” said Guido Palau. “Glamorous, in other words.” He kept the silhouette close to the head at the designer’s request, working it into slick marcel waves at the face before pulling it back tightly into two neatly pinned buns that sat side by side at the nape of the neck.
NAILS: Natural manicures with a hint of shine.

THE TOOLS
MAKEUP:
ON EYES: To create her gleaming sheet-metal eye on models like Jessica Stam and Jourdan Dunn, McGrath brushed layers of silver theatrical powder onto the lids, winging it out slightly onto the cheekbones before filling in the brows with pencils and powders.
ON SKIN: Sheer foundation to even out the complexion and a light dusting of powder. “There shouldn’t be any shine,” said McGrath.
ON LIPS: McGrath made a play on masculinity by muting the lips with a dab of foundation.
ON NAILS: Clear top-coat on fingers and toes provided shine.

HAIR:
Palau used Redken Super Strong Gel and Smoothing Serum for a sculpted look. Just before models hit the runway, he added a layer of Vinyl Glam 02 Mega Shine Spray to give it a slick, glossy finish.

 

[Marjon]

I love the looks @ Julien Macdonald
**

 

[missbluejean]

I love how light and glowing the Versace makeup is. These eyebrows are perfect.

​

by Catherine Piercy

THE CREDITS: Makeup, Pat McGrath for CoverGirl; hair, Guido Palau for Redken

THE LOOK: Helmut Newton girl does minimalism.
MAKEUP: “It’s natural, perfect beauty at its best,” said Pat McGrath of the dewy skin, flushed cheeks, and “strong, beautifully groomed brows” she gave models. “Sexy but grown-up.”
HAIR: For the first time anyone backstage could remember, Guido Palau traded loose, perfectly blown-out hair for a slicked-back, severely chic knot at Versace. “It’s glamorous in a different way,” he said of its lacquered, almost vinyl-like sheen. “Like a Helmut Newton sort of woman. Strong, tough, a little bit dangerous.” After pinning the hair into place at the back of the head, he covered each knot with a square of black PVC fabric, then cinched it into place with an invisible band.
NAILS: Sheer, understated nude manicures.

THE TOOLS:
ON SKIN: “When the quality of the skin is perfect, you don’t need anything else,” said McGrath. She blended sheer, luminous foundation over the skin, then swirled a soft pink blush onto the apples of the cheeks.
ON EYES: For subtle definition, she shaded in the eyes with a soft brown powder, darkened the brows, then swiped mascara “onto the upper lashes only.”
ON LIPS: “Just a bit of clear balm” over models’ own natural pinkish lip color, according to McGrath.
ON NAILS: Revlon Nail Enamel in Sheer Nude on hands and feet.

ON HAIR: Palau gave hair its “patent leather” finish with Redken Hardware 16 Super Strong Gel and Glass 01 Smoothing Serum.

(vogue)

 

[sill]

I love the make-up at Versace, perfectly simple and glowing. Did they use fake lashes? If not, what kind of mascara? (If anyone has more info than the above). Their lashes look amazing.

 

[clocked]

no wonder Julien Macdonald's models looked so good...that L'Oreal primer is FANTASTIC

 

[missbluejean]

Jil Sander




​

by Catherine Piercy

THE CREDITS: Makeup, Peter Philips for Chanel; hair, Paul Hanlon

THE LOOK: Irving Penn muse as modern-day urbanite.

MAKEUP: “There are couture elements in the shapes, in the colors, of the collection,” said Peter Philips. “Raf wanted to keep the face very chic, very pure, but with an element of street to it. How would [the Jil Sander girl] today really wear her makeup?” He found his answer in pristine skin and shocking-pink lips. “It’s about the contradiction of that one graphic element against an otherwise bare face,” he said. The neon shade also turned up in everything from the designer’s floor-length peplum skirts to his button-down silk blouses and windbreakers.

HAIR: “It’s very ‘old salon’ so to speak—elegant without being excessive,” said Paul Hanlon of the elongated, textured buns he gave models backstage. “At the same time, I wanted it to look modern, the way a younger girl might do her version of couture hair.”

THE TOOLS:

MAKEUP:
ON SKIN: A thin veil of Chanel Pro-Lumiere Professional Finish Makeup SPF 15 to even out the complexion.
ON EYES: “Just a beige liner [Chanel Le Crayon Khôl in Clair] on the inside of the lower lids to brighten the eyes,” said Philips. “That’s it. Not even mascara.”
ON LIPS: Philips mixed a bold fuchsia lip color with a matte white pigment by hand for a shade he called “a little off, almost artificial, even, in a good way.”

HAIR: Taking a cue from the collection, which rendered haute silhouettes in airy, lightweight fabrics, Hanlon whipped the length of the hair into a gentle froth using Toni & Guy Label.M Extra Strong Mousse, then back-combed it lightly before winding it into place. He finished with L’Oreal Elnett Hairspray “to give the bun a dry, textured look that’s modern.”

SPOTTED: Models sipping espresso through shocking-pink straws to avoid ruining their perfectly painted matching lips before taking to the runway.

(vogue)